從社會(huì)學(xué)視角看五四前后外國(guó)戲劇的漢譯
發(fā)布時(shí)間：2025-06-18 22:14
話劇,作為一種“舶來(lái)品”,是在十九世紀(jì)末經(jīng)由教會(huì)學(xué)生演劇和華僑演劇傳入中國(guó)的。五四新文化運(yùn)動(dòng)為話劇在中國(guó)的傳播與發(fā)展起到了催化劑的作用。五四文人們?cè)谥形魑幕ぴ街兄鲃?dòng)學(xué)習(xí)西方戲劇,經(jīng)由模仿到自行創(chuàng)作,最終開創(chuàng)了中國(guó)的話劇文學(xué)體裁。本文從社會(huì)學(xué)的角度探討了五四新文化運(yùn)動(dòng)前后外國(guó)戲劇在中國(guó)的譯介情況,將翻譯活動(dòng)作為一場(chǎng)社會(huì)實(shí)踐,而翻譯作品為社會(huì)實(shí)踐產(chǎn)生的文化產(chǎn)品,并以此為出發(fā)點(diǎn)從社會(huì)學(xué)的角度研究戲劇翻譯作為文化產(chǎn)品是如何發(fā)生,為什么發(fā)生以及其流入社會(huì)后的效果和作用。為了對(duì)這一社會(huì)實(shí)踐作盡可能全面的分析,本文將社會(huì)文化的宏觀視角和基于文本的微觀視角進(jìn)行了結(jié)合。 在研究中我們運(yùn)用了法國(guó)社會(huì)學(xué)家皮埃爾·布迪厄的社會(huì)實(shí)踐理論,其核心概念為場(chǎng)域、資本和習(xí)性。社會(huì)由不同的場(chǎng)域組成,場(chǎng)域就是主體活動(dòng)的特定社會(huì)空間,如法律、政治、文學(xué)場(chǎng)域等,場(chǎng)域內(nèi)部充滿了權(quán)利斗爭(zhēng)。話劇作為一種場(chǎng)域是在五四新文化運(yùn)動(dòng)時(shí)期向西方學(xué)習(xí)的浪潮中逐漸確立起來(lái)的,文明戲?yàn)槠湓缙诘男问�。戲劇作為一種社會(huì)產(chǎn)品有其特定的價(jià)值,即象征資本。五四時(shí)期各個(gè)領(lǐng)域都彌漫著除舊立新的改革氣氛,中國(guó)傳統(tǒng)戲曲作為一種“落后的”文學(xué)樣式而遭到批判甚至是...
【文章頁(yè)數(shù)】：76 頁(yè)
【學(xué)位級(jí)別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
1. Introduction
1.1 Research aim
1.2 Research significance
1.3 Research methodology
1.4 Structure of the thesis
2. Literature Review
2.1 Studies on theater translation in the west
2.2 Studies on theater translation in China
3. Theoretical Basis
3.1 Translation theories:history and limitations
3.2 Social implications of translation
3.3 Towards a sociology of translation
3.3.1 The application of Pierre Bourdieu's Theory of Practice in translation study
3.3.1.1 Habitus
3.3.1.2 Field
3.3.1.3 Capital
3.3.2 The significance of applying Bourdieu's theory into translation studies
4. An Overview of Foreign Theater Translation around 1919 in China
4.1 Genesis of the field of Huaju in China
4.1.1 Sociopolitical field of China and the rise of literary translation
4.1.1.1 The late Qing Dynasty stage
4.1.1.2 After the New Culture Movement
4.1.2 The establishment of Chinese Huaju field via translation
4.1.2.1 The rise and fall of early Huaju-Wen Ming Xi
4.1.2.2 The prime of theatre translation around 1919
4.2 Symbolic capital and theatre translation
4.2.1 Symbolic capital of Chinese traditional theatres
4.2.2 Symbolic capital of foreign theatres in China
4.3 Habitus, the translation strategies, and the choice of original texts
4.3.1 Translation strategies and translator's habitus
4.3.2 The choice of the original text and translator's habitus
4.4 Agents involved in foreign theater translation
4.4.1 Literary organizations
4.4.2 Critics
5. Social Functions of Foreign Theatre Translation
5.1 A tool to enlighten people and reform the society
5.2 A literary reformer—a case study of the translation of Ibsen's theatres
5.2.1 A brief introduction to Ibsen and the translation of his works
5.2.2 Impact upon Chinese Huaju writing
5.2.2.1 A landmark:Hu Shi's Zhongshen Dashi
5.2.2.2 Impact upon the motif of Huaju
5.2.2.3 Impact upon the structure of Huaju
5.2.2.4 Impact upon the language of Huaju
5.2.3 Impact upon Chinese novel and poetry writing
6. Conclusion
6.1 A reflection on foreign theatre translation around 1919
6.2 Research findings
6.3 Limitations of the study and suggestion for future research
Bibliography
本文編號(hào)：4050414
【文章頁(yè)數(shù)】：76 頁(yè)
【學(xué)位級(jí)別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
1. Introduction
1.1 Research aim
1.2 Research significance
1.3 Research methodology
1.4 Structure of the thesis
2. Literature Review
2.1 Studies on theater translation in the west
2.2 Studies on theater translation in China
3. Theoretical Basis
3.1 Translation theories:history and limitations
3.2 Social implications of translation
3.3 Towards a sociology of translation
3.3.1 The application of Pierre Bourdieu's Theory of Practice in translation study
3.3.1.1 Habitus
3.3.1.2 Field
3.3.1.3 Capital
3.3.2 The significance of applying Bourdieu's theory into translation studies
4. An Overview of Foreign Theater Translation around 1919 in China
4.1 Genesis of the field of Huaju in China
4.1.1 Sociopolitical field of China and the rise of literary translation
4.1.1.1 The late Qing Dynasty stage
4.1.1.2 After the New Culture Movement
4.1.2 The establishment of Chinese Huaju field via translation
4.1.2.1 The rise and fall of early Huaju-Wen Ming Xi
4.1.2.2 The prime of theatre translation around 1919
4.2 Symbolic capital and theatre translation
4.2.1 Symbolic capital of Chinese traditional theatres
4.2.2 Symbolic capital of foreign theatres in China
4.3 Habitus, the translation strategies, and the choice of original texts
4.3.1 Translation strategies and translator's habitus
4.3.2 The choice of the original text and translator's habitus
4.4 Agents involved in foreign theater translation
4.4.1 Literary organizations
4.4.2 Critics
5. Social Functions of Foreign Theatre Translation
5.1 A tool to enlighten people and reform the society
5.2 A literary reformer—a case study of the translation of Ibsen's theatres
5.2.1 A brief introduction to Ibsen and the translation of his works
5.2.2 Impact upon Chinese Huaju writing
5.2.2.1 A landmark:Hu Shi's Zhongshen Dashi
5.2.2.2 Impact upon the motif of Huaju
5.2.2.3 Impact upon the structure of Huaju
5.2.2.4 Impact upon the language of Huaju
5.2.3 Impact upon Chinese novel and poetry writing
6. Conclusion
6.1 A reflection on foreign theatre translation around 1919
6.2 Research findings
6.3 Limitations of the study and suggestion for future research
Bibliography
本文編號(hào)：4050414
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